Elisa R. Linn

  • picks October 16, 2017

    Michael E. Smith

    Michael E. Smith’s third solo exhibition at this gallery features a stuffed Macaw parrot hanging upside down (Untitled, 2017) in a dimly lit space with a green laser pointer mercilessly beaming onto the creature’s left eye every second. The artist’s unsettling sculptures are often made of unlikely alliances between fragility and weight, organic and synthetic, or the ordinary and the remarkable. They lure the eye and fill the space around them with their repulsive energy, creating environments where material, language, and image converse with and contradict one another.

    Another work (also Untitled

  • picks June 01, 2017

    Michel Majerus

    The title of this exhibition, “Laboratory for appraising the apparent”—the first of a three-part show at the artist’s former studio space—is appropriated from a quote Michel Majerus once wrote down in a notebook. The phrase simultaneously mirrors the credo of his early work from 1990 through 1995, presented here, and his estate’s mission of an archival reappraisal for the public. An arrangement of books taken from Majerus’s library is installed next to the entrance, appearing like an overview of the artist’s favored sources, including Vogue and Nintendo magazines, a publication on architect

  • picks November 09, 2016

    Kaspar Müller

    Hordes of bikes of various styles and from different eras, some broken and some roadworthy but all untitled and from 2016, stand or lean against the wall as if wrongly parked or forgotten in Kaspar Müller’s second solo exhibition at this gallery. Some seem to be frozen in motion, pointing like vectors in different directions. These human-powered carriers cohabit with antiques and bric-a-brac like a junk store of cultures and ideologies: an ancient bronze figure, a bust of Lenin on a pannier rack, and Homer Simpson 3-D slippers speared on handlebars. Caught in a hybrid state of shifting levels

  • picks September 29, 2016

    Amelie von Wulffen

    In Amelie von Wulffen’s exhibition, homey table gatherings with borrowed motifs and eclectic styles, ranging from historical genre painting and modernism to faux-naïf, turn out to be oppressive, almost duplicitous scenes. Appropriating a rustic theme favored by painter Franz Defregger in one of her works (all untitled, 2016), von Wulffen replaces a cheerful peasants’ meal with a group of grouchy, monstrous cats that bargain over their knotty inheritance—thalers or turds. These works defer illustration through an imaginative blurriness that provokes and rebuffs recognition. The artist allows her